jiwiiiiiiiiHiiiiiiiiai 


in 


Id 


tMtmi'mi  fMWMwnwwiiM 


lOL 


Edition  for  Private 
Circulation  Only 

f^opy  No.    la. 


¥m 


mm-itm 


K^^. 


ILLUSTRATED  DESCRIPTION 

OF    A    DESIGN    IN    THE 

PERSIAN-INDIAN  STYLE  OF  ARCHITECTURE 

FOR 

THE  FIRST  MASHRAK-EL-AZKAR 
(BAHAITEMPLE) 

TO    BE    ERECTED    IN    AMERICA. 
HUMBLY    OFFERED   TO 

THE  CENTER  OF  THE  COVENANT 

THROUGH    THE    BAHAI    TEMPLE    UNITY 

BY 

C.   M    R. 


APRIL    26_28 
1920 


^ 


COPYRIGHTED     1920 
BY     CHARLES     MASON     REMEY 


d 


I. 


ARCHITECTS  PREFACE. 

The  Bahai  Revelation  has  been  given  to  the  v/orXd  that  through  the 
knowl^^dge  of  the  divine  teaching  and  through  the  spirit  of  this  New  Covenant, 
man  may  be  quickened  by  the  power  of  The  Kingdom  and  that  this  spiritual 
illumination  may  become  manifest  in&ail  his  human  activities. 

'As  one  becomes  familiar  with  the  Bahai  Teaching  and  its  principles 
and  as  one  seeks  to  apply  these  in  his  life  it  is  the  most  natural  thing  in 
the  world  that  he  should  desire  to  express  these  principles  and  religious 
ideals  in  the  terms  and  language  of  his  own  art,  craft  or  profession.  As 
with  countless  others  such  was  my  own  experience.   Since  my  connection  with 
the  Bahai  Cause,  during  the  past  twenty  years,  in  the  pursuance  of  my  study 
of  architecture  at  home  and  abroad  in  laajriyparts  of  the  world,  I  have  had  • 
constantly  in  mind^  the  great  Bahai  Mashrak-El-Azkar  the  first  of  its  kind  to 
be  erected  in  America,  my  desire  being  that  I  might  be  able  to  express  in 
terms  of  architecture  an  offering  toward  this  great  temple. 

This  absorbing  interest  has  led  me,  during  the  past  twelve  years, 
to  make  a  series  of  architectural  studioc.and  preliminary  designs  for  this 
edifice  showing  treatments  of  varying  dimensions  in  nine  different  styles 
of  architecture.   These  wire  offered  to  Abdul  Baha  in  the  hope  that  this 
work  might  be  of  some  service  when  the  time  arrived  for  the  formulation  of 
a  building  design  for  the  Mashrak-El-Azketr- 

This  series  of  designs  has  been  exhibited  in  several  art  galleries 
and  universities  throughout  the  country,  such  as  the  National  Gallery  of  Art, 
v;hich  is  a  part  of  the  Smithsonian  Institution  in  Washington,  the  Boston  Pub- 
lic Library  as  well  as  in  other  public  libraries,  in  the  Museuaas  of  Art  of 
St.  Louis  and  Syracuse,  and  at  the  Universities  of  Illinois,  George  Washington, 
Cornell,  the  Carnegie  Institute  of  Pittsburgh,  etc.   In  holding  these  exhibi- 
tions, which  were  usually  accompanied  by  lectures  attended  by  architects, 
teachers,  patrons  of  the  arts  and  others,  it  was  my  hope  tX)   interest  people 
in  the  Bahai  Covenant  by  thus  introducing  the  subject  through  the  temple  of 
the.Mashral-El-Azkar  and  its  architectural  and  spiritual  significance. 

When  the  word  was  received  from  Abdul  Baha  that  a  choice  of  designs 
subrpitted  for  the  Mashrai-El-Azkar  was  to  be  made  by  the  delegates  seated  in 
this  Twelfth  Annual  Convention  of  Bahais  in  America  held  in  New  York,  April 
26  -  28,  1920,  I  felt  moved  to  make,  in  addition  to  the  drawings  already 
mentioned,  a  set  of  models  of  the  one  of  my  designs  vvhich  was  done  in  the 
Persian- Indian  «tyle  in  order  to  present  to  the  Convention  in  as  graphic 
and  as  concrete  a  manner  as  possible  the  salient  features  of  this  design, 
which,  in  my  estimation,  so  far  as  I  now  understand  the  matter  as  viewed 
from  points  both  practical  and  spiritual,  is,  I  f eel, ^  the  best  suited  of 
my  preliminary  studies  to  meet  this  present  problem.  With  the  exception 
of  this  design  in  the  Persian- Indian  style,  7;hich  is  of  quite  modest  dii?ien- 
sions,  each  of  my  other  eight  designs  are  too  large  in  size  and  of  too  cost- 
ly construction  to  be  considered.   Moreover,  with  the  exception  of  the  Ara- 
bian Moorish  and  the  Persian  designs,  the  others  were  not  sufficiently 
oriental  in  character  to  satisfy  the  requirements  of  the  problem  in  hand. 
Therefore  between  these  practical  and  aesthetic  conditions  there  seemed  to 
us  to  be  but  this  one  of  my  designs  to  feature* 

Since  Abdul  Baha  ordered  the  Convention  to  choose  one  from  among 
the  designs  which  had  been  offered  for  the  Mashrak-^El^Azkar,  I  did  not  deem- 
it  advisable  to  prepare  any  new  designs,  nor  to  alter  those  which  I  had 


-2- 


previously  irade.   The  models  and  the  large  drav/ings  of  this  Persian- Indian  . 
design^  which  I  am  offering  together  with  ay  first  drawings,  are  merely  eit- 
largements  and  developments  of  the  original  design,  there  have  been  no  changes 
in  the  style  of  the  design,  its  treatment  nor  dimensions- 


STYLE. 

While  engaged  in  this  work  my  concept  of  an  architectural  treatment 
for  the  Mashrak-El-Azkar  underwent  many  changes  and  modifications.      In  con- 
sideringoa  style  for  the   first  design  made  the   Byzantine  then  suggested  itself 
to  me  as   combining  in  one   complete  and  developed  style   of  architecture,    the 
characters  of   both  the  Orient  and  the  Occident,      Later  on  in  the  work  I  made 
studies  in  various   other  styles   from  the  classic  to  the  ultra  modern  which 
work  included  some  of   the  styles  of   the  Orient.      Toward  the  close  of   this 
study  I   received  an  excerpt  from  ^  Tablat  of  Abdul   Bahas'    addressed  to  Mrs. 
Kate   Ives  in  which  He  mentioned  the  Mashrak-EL-Azkar  as   follows: 

"That  Divine  Form  manifested  itself   in  America  and  entered  the 
Great   Temple  which  shall   soon  be  constructed  therein.      This  Glorious  Temple 
resembles  the  Orient  Edifices  and   soon  you  will   see  it   erected  there  with  a 
most  solid  foundation  and  strongest  basis." 

Furthermore,    I  learned  that  it  was  reported  that  Abdul   Baha  showed 

a  picture  of  the  Taj-Mahal   to  Mr.    P ^ suggesting  that  the 

.'^ashrak-El-Azkar  have  a  similar  entrance. 

These  words  of   Abdul  Baha  quite  revolutionized  my  thought  regarding 
the  style  for  this   first  great  Bahai   Temple  to  be  erected  here  in  the  West, 
^ith  time  and  more   study  the  architecture  of   the  Orient  has  made   its   appeal 
more  and  more  to  me  as  being  the  best   suited  of  all   styles  as  a  foundation 
for,    and  a  first   step  toward,    the  universal  style  of  world  architecture  event- 
ually to   find  its  perfect  development  in  the  Mashrak-El-Azkar  of   future  genera- 
tions.     I  have  been  pleased  to  note  latterly  that  the  majority  of  the  people 
who  have   seen  my  preliminary  dra.vings  have  expressed  a-preference  for  the 
Persian  and  the  Persian- Indian  styles. 

Styles  in  architecture  are  never  one-man  inventions  but  rather  they 
are  the  result  of   a  grovvth  and  are  brought  into  existence  through  the  com^ 
bined  and  united  efforts  of  a  number  of  people,    inspired  by  a  common  reli- 
gious ideal,    expressing  their  zeal  in  the  building  of   temples. 

Knowing  this   principle,    I  have  not  had  it  in  mind  to   attempt  to 
create  anything  new  in  style  vvhich,    had  I  attempted  it,   would,  "at  best  have 
been  merely  a  personal  expression  of  my  own.      Rather  I   sought  merely  to  apply 
to  this  present  problem  here  in  America  to  meet  our  local  needs  the  Islamic 
style  of  architecture   of   Persia  and  India,  which  style,   like  all   other  pure 
styles,    is  devoid  of   the  personality  of  anyone   of   its  individual   originators, 
but  which,   like  all   other  styles,    is  flexible  in  the  hands  of   the  architect 
allowing  him  freely  to  express  himself   in  his   composition  and  arrangement  of 
structural  and  decorative  motives. 


-3- 

Here  is  the  lins  of  demarkaticn^  as  I  find  it,  bet^:»een  style  and 
composition  of  design.   Style  is  impersonal  o.nd  so  far  as  the  individual  is 
concerned,  is  a  fixed  factor  in  architecture.   Composition  of  structure  and 
design  upon  the  other  hand  foll'ov/s  the  personal  individual  judgment  and 
fancy  of  the  architect. 

The  basis  from  7,'hich  each  of  the  styles  in  architecture  of  the  past 
has  come  forth  has  been  found  in  the  buildings  of  a  previous  civilization. 
Thus  the  Romans  adapted  the  Oreek  architectural  forms  tt>   meet  their  own 
needs  with  the  result  that  in  time  a  ne^  style  resulted!  In  like  manner  the 
Christian  styles^  the  Byzantine^  the  Romanesque  and  the  Gothic,  step  by  step, 
grew  out  from  the  Roman  style  and  similarly  Islamic  architecture  tias  adapted 
from  the  Byzantine  Churches  of  Turkey  in  Europe  as  these  temples  of  the  former 
religion  were  appropriated  by  Moslem  conquerors  and  used  as  mosques. 

In  as  much  as  the  early  scenes  of  the  Bahai  Revelation  were  laid 
in  Persia  and  since,  the  background  of  this  Cause  partakes  to  so  large  an  ex- 
tent of  the  lang^aage  and  the  t  raditions  of  that  land  and  of  her  people,  from 
many  viewpoints  x>f  consideration  the  Persian  style  of  architecture  would 
suggest  itself  as  the  point  of  departure  for  the  Mashrak-El-Azkar  of  the 
present  day,  having  in  mind  tha.t  this  is  but  a  first  step  toward  the  Bahai 
Style  eventually  to  be  developed. 

The  great  universal  Bahai  Style  of  architecture  will  undoubtedly 
appear  through  the  rise  of  the  people  to  live  the  Bahai  life,  through  the 
sacrifice  of  the  individual  wills  of  the  people  and  all  personal  desires  to 
the  will  of  The  Covenant,  through  the  establishment  of  the  Divine  institutions 
of  The  Cause  of  God,  and  through  the  working  together  of  many  architects  and 
builders  in  perfect  harmony  for  the  one  great  end  which  is  to  glorify  God  in 
the  building  of  many  M.ashrak-El-Azkars.  Future  generations  will  see  appearing 
in  these  temples  yet  to  be  built,  a  great  and  new  style  in  architecture  which 
shall  far  transcend  all  previous  styles  in  its  structure  and  beauty.  Undoubt- 
edly this  style  will  only  be  realized  through  the  unity  and  fusion  of  many 
souls  and  will  be  forthcoming  only  as  the  Cause  grows  and  spreads  in  the 
heart  of  J^umajiity  creating  the  Abha  civilization  of  the  Kingdom  upon  earth 
of  ;vhich  it,  the  Bahai  Style,  will  be  an  impersonal  expression. 


THE  PERSIAN- INDIAN  STYLE  OF  ARCHITECTURE. 

The  Persian  Style  of  Architecture  was  developed  under  the  influence 
brought  into  Persia  by  the  early  Moslem  civilization.   Some  of  its  grandest 
applications  are  found  in  the  mosques  of  Esphahan,  Khoum,  Kashan,  and  Khazvin, 
while  the  same  style  is  found  in  these  and  other  cities,  successfully  applied 
to  such  buildings  as  bazaars,  caravansaries,  palaces,  colleges,  gateways, 
bridges,  and  other  civic  structures. 

The  lower  wall  surfaces  of  the  more  elegant  of  these  buildings  are 
often  revetted  with  slabs  of  marble,  while  the  main  walls  and  upper  parts  are 
usually  in  stone,  brick,  terra  cotta,  aivi  brightly  colored  tiles.   Though 
some  of  these  buildings  have  stood  for  centuries,  the  coloring  in  many 
instances  remains  quite  fresh  and  even  brilliant • 


-4~ 

The  richness  in  color  decoration  of  the  domes  and  minarets  of   the^ Per- 
sian mosquesj    rising   from  a  foreground  of  gardens  and  silhouetted  against  a 
cloudless  sky^    is  memorable  and  very  beautiful.      This  style  of   decoration, 
so  in  harmony  with  its  oriental   environment^    has  a  charm  of  its  own,    to  which 
many  Persian  writers^    as  well  as  foreigners  travelling  in  that  country^   have 
testified. 

The  Indian  Style  of  Architecture,   which   is  an  adaptation  of   the 
Persian  Style^    had  its  development  during  the  Mogul   rule  in  India.      Soi.13  of 
the   finest  examples   of  this  style  are   found  in  the  vicinity  of  Eelhi,    India's 
ancient  capital^   while   the  world-famous   Taj-Mahal,    near  the  city  of  Agra  is 
•.vithcut  doubt  the  best  kno-vvn  and  by  many  the  most  admired  building  dt  the 
epoch. 

The  Taj -Mahal   is  finished  within  and  without  with  white  marble  in- 
laid with   jasper,    lapis  lazuli,    and  other  semi-precious  stones.      It  is  sur- 
rounded by  a  garden  intersected  by  waterways   separated  by  richly   colored 
flowers  and   foliage,    and  produces  an  effect  of   beauty  beyond  the  power  of 
words  to  describe. 


THE  MASHRAK-EL-AZKAR  OF  ESHKHABAD. 

The  Mahsrak-El-Azkar  of  Eshkhabad  in  Russian  Turkistan  is  built  on 
the  lines  of  the  Persian- Indian  style.  Like  the  Taj-Mahal  its  main  portal  is 
in  the  form  of  a  high  pointed  oriental  arch  extending  two  stories  in  height* 
This  main  or  principal  entrance  to  the  temple,  flanked  by  two  'turrets  or 
r.inarets,  faces  in  the  direction  of  The  Holy  Land.   Several  doorways  of  les- 
ser importance  give  access  to  the  building  from  the  other  sides  while  the .> 
garden  is  .laid  off  as  specified  in  the  Tablets  and  Holy  Writings.   There 
are  nine  avenues  of  approach  to  the  temple  dividing  the  grounds  into  nine 
gardens,  each  with  its  fountain,  flower  beds  and  lawns. 

The  construction  of  this t emple  is  of  masonry  -  that  is  to  say  it 
is  "wall  bearing"  (the  masonry  walls  carrying  the  weight  of  the  floors  and 
r0vjf3)'.^'^hile  some  steel  or  iron  strengthening  is  used  in  the  floors  and  the 
dome.   This  architecture  is  not  heavy  to  the  aye,  yet  the  walls  and  abutments 
of  the  building  are  massive  and  it  is  quite  evident  that  the  permanency  and 
durability  of  the  edifice  was  of  major  consideration  in  the  minds  of  its 
builders. 


SYMBOLOGY. 

Ba!hai  ^Symbology  is  observed  in  many  ways  in  the  composition  of 
this  design,  1-3-  5-7-^9-  12  -19  -40  and  95  will  be  found  recurring 
in  this  number  of  repeated  architectural  and  decorative  motives.   For  example 
there  are  nineteen  windows  or  bays  in  the  drum  of  the  dome.   Three  of  these 
are  over  the  main  entrance  which  faces  the  East,  while  two  are  over  each  of 


'\  ?*' 


The  Mashrak-El-Azkar  of 
Eshkhabad  Under  Construction 


-5- 


the  other  eight  faces  of  the  building.   This  treatment  gives  a  compoaition 
based  upon  9  and  19  which  is  both  s3rEibolic  and  practical  allowing  for  the 
architectural  development  of  the  main  front  of  the  edifice  with  its  great 
portal  facing  the  East  -  thus  giving  to  this  front  an  importance  over  the 
other  sides  of  the  building. 


CONSTRUCTION. 

The  mode  of  construction  to  be  adhered  to  and  the  materials  to  be 
j-sed  are  of  primary  consideration  in  making  the  design  for  a  building;  because 
chesa  structural  features  need  to  be  considered  at  every  point  in  formulating 
the  composition^  in  the  architectural  treatment  and  in  designing  the  decoration 
of  the  building. 

At  the  present  time  in  this  country  there  ar*e  two  systems  of  con- 
struction generally  used  in  ouildings  of  monumental  proportions  -  namely  - 
masonry  and  steel  encased  in  i^asonry.   These  t-.70  systems  are  as  diametrically 
opposite  to  one  another  in  principle  of  structure^  as  s5tone  construction  dif- 
fers from  that  of  timber. 

In  the  former  construction  of  all  masonry  the  walls  carry  their  own 
weight  together  with  that  of  the  floors,  roofs  and  other  parts  of  the  super- 
structure, the  equilibrium  of  the  whole  depending  upon  the  mass-  of  the  masonry 
and  its  distribution. 

In  the  latter  construction  of  steel  supporting  masonry,  as  typified 
in  the  high  American  office  building,  the  solidity  of  the  structure  depends 
upon  a  frame  work  of  steel  which  supports  the  building,  only  a  thin  veneer  of 
-nasonry  in  the  form  of  concre-^e,  terra  cotta,  brick  or  stone,  being  used  to 
enclose  the  steel  and  protect  it  against  the  action  of  the  elements. 

In  mentioning  these  two  principles  of  structure,  I  am  treating  of, 
and  giving  emphasis  to,  the  difference  of  these  two  extremes  of  construction 
yet  many  large  buildings  of  importance  combine  both  of  these  two  structural 
principles  in  a  proportion  commensurate  with  their  particular  requirements. 

For  buildings  such  as  factories,  warehouses,  office  buildings  and 
the- like  where  space  and  economy  of  construction  are  of  primary  requirements 
and  where  permanency  beyond  that  for  a  few  immediate  decades  is  of  secondary 
consideration,  the  reinforced  steel  structure  is  without  doubt  the  most  effi- 
cient. Upon  the  other  hand  where  a  building  is  being  put  up  for  all  time, 
or  as  nearly  for  all  time  as  is  possible,  I  feel  that  a  construction  of  all 
masonry  is  the  only  type  to  be  considered.   This  latter  is  our  problem  in 
the  Ma.ahrak-El-Azkar. 

We  Bahais.-.'are  building  an  edifice  which  should  be  so  built  as  to 
stand  for  countless  ages  to  come  as  well  as  meet  our  needs  of  the  present  day. 
Therefore,  I  feel  that  we  cannot  afford  to  take  any  risks,  but  should  confine 
our  building  efforts  along  the  well  tried  out  lines  of  architecture  which  have 
endured  for  centuries  in  the  old  world  of  Europe  and  the  Orient, 


-6- 

All  of   the  great  temples   of   the  past^    built  during  the   days  when 
the  various  styles  were  pure  and  before  any  decadence  had  set  in,    were  built 
of   self  supporting  masonry.      This   principle  was  adhered  to  alike  by  all  the 
ancients  and  also  in  comparatively  more  modern  tinges  by  the  builders  of  the 
Byzantine,   Romanesque,    G-othic,    Arabian,    Moorish,    Persian  and  Indian  epochs. 

In  this  present  day  the  Shrine  of  The  Bab   on  Mount  Carmel^,  built 
by  Abdul  Baha,    is  likewise  of  massive  masonry.     Also  the  Mashrak-El-Azkar 
of  Eshkhabad  is  of   this   construction.      Though  some  of   its   floors  and  the 
upper  part  of  its   dome  are  of  steel   construction,    yet  all   of  its  bearing 
walls,  which  give  solidity  and  permanency  to  the  structure^ are   of   self  sup- 
porting masonry. 

A  considerable  study  of  this  problem  of   construction  has  convinced 
me   that   for  the   American  Mashrak-51-Azkar  a  structure  of  masonry  is  better 
than  one  of  steel,    because  of   its  lasting  qualities.     Therefore  this  design 
in  the  Persian- Indian  style,    I  have   conceived  to  be  built  entirely  of  masonry 
not  depending  upon  steel  reinforcing  to  hold  the  masonry  in  place.     My  reason- 
ing in  addition  to   that  already  mentioned  is  as   follows.      Steel,    though 
stronger  than  masonry  is  yet  more  perishable.     Where  steel  is  used  to  support 
masonry,    the  time  is  sure  to  come  when  the  steel  must  give  away  because  of 
the  two  materials     it  is  the  less  durable.      Since  this  steel   is  encased  in 
masonry,   Which  is  less  perishable  than  itself,    its  deterioration  is  hidden 
from  view  and  cannot  be   seen  nor  known  until  a  catastrophe  reveals  the  true 
state  of  affairs.      In  my  estimation,    in  all   construction  where  permanency 
is  an  important   factor,    the  more  durable  material   should  support  the  less 
durable.      One   of   the   structural  perfections  of  the  human  body  is  that  the 
most   durable  tissues,    namely  the  bones,    support  the  less  durable  tissues 
of  the  other  parts  and  orgariS.      This  basic  stifuctural  and  mechanical  reason- 
ing applied  to  the   construction  of   the  I/ashrak-El-Azkar  has   caused  me  to 
conceive  this  design  in  the  Persian- Indian  style     to  be  executed  in  masonry. 


SIZE. 

In  asmuch  as  the  desire   of   Abdul  Baha  is  that  the  building  of  this 
Mashrak-El-Azkar  be  accomplished  as   speedily  as  possible,    preferably  during 
the d ay  of  The  Covensmt,    the  size   of   this  Persian- Indian  design  has  been 
kept   down  as  much  as  possible  in  order  to  show  the  architectural  possibili- 
ties  of  a  building  of  moderate   cost  and  dimensions. 

The  main  part  of  this  building  is  95  feet  in  outside  diameter, 
while  added  to  this  is  a  projection  toward  the  East   forming  the  main  portal 
of  the  temple  with  its  steps  of  approach,    the  height   from  the  ground  to  the 
extreme  top  of   the  dome  being  160  feet. 

One   feature   of  the  Mashrak-EI-Azkar  of  Eshkhabad,   which  adds  much 
to  its  size,    is  the  series  of  spacious  loggias  upon  both  the  main  and  the 
gallery  floors   encircling  this  building  and  opening  out  upon  the  gardens. 
Loggias   form  a  most  important   feature  of  the  oriental   architecture  of  the 
semi-tropical   countries  where  the  people  are  able  to  live  out  of   doors  most 


-7- 

of  the  time.   The  climate  of  Chicago  being  so  different  from  that  of  the 
Orient  it  seemed  to  me  to  be  Eore  practical  not  to  have  open  loggias  where 
for  several  month^  of  the  year  ice  and  snow  would  collect  causing  trouble. 
Having  no  loggias,  therefore^  the  diameter  of  this  design  is  considerably 
less  than  that  of  the  Eshkhabad  Temple^  although  as  I  recall  the  interior 
^f  that  ^lashrak-El-Azkar,  the  interior  of  this  design  is  of  about  the  same 
dimensions. 


COST. 

Until  working  drawings  with  specifications  are  completed,  it  is 
impossible  to  estimate  with  exactness  the  cost  of  any  building,  and  in 
these  -days  of  economic  pressure  and  unrest  even  with  complete  drawings  and 
specifications  estimates  are  at  best  approximate  on  account  of  the  changing 
conditions  in  the  world  of  la.bor.   However,  after  having  confer|:ed  with 
several  men  of  much  practical  experience  in  building,  I  believe  that  this 
design  could  be  built  for  from  $400,000  to  $650,000  depending  upon  the 
materials  employed.   These  approximate  f  igures  do  not  include  the  elaborate.! 
mosaic  decoration  of  the  interior  nor  the  embellishment  of  the  grounds^ 
approaches,  fountains,  retaining  walls  with  the  balustrades  surrounding 
the  grounds,  etc.,  v/hich  all  taken  together  with  the  building,  would  pro- 
bably cost  in  the  neighborhood  of  a  million  dollars.   The  interior  decora- 
tion as  well  as  the  girden  embellishments  could  be  carried  out  any  time 
after  the  temple  of  the  I/iashrak-El-Azkar  is  built. 

Through  the  kindness  of  a  brother  Bahai,  Mr.  Allen  B.  McDaniel, 
who  is  one  of  the  eminent  structural  engineers  of  this  country,  two  esti- 
mates were  made  for  the  building  of  this  design.  One  was  for  its  execu- 
tion in  Bedford  limestone,  whi,ch  amounted  to  $550,000;  the  other  was  for 
a  fine  grade  of  white  granite  and  was  $650,000.   Mr.  McDaniel  is  at  present 
doing  some  work  here  in  Washington  for  the  Government,   In  his  office  he 
has  several  ocpert  estimators  of  experience  and  reputation  who  are  in  touch 
with  general  building  conditions  throughout  the  country.  These  gentlemen 
worked  with  him  in  formulating  these  figures  so  I  feel  that  this  is  ao 
exact  an  estimate  as  we  can  with  reason  expect  to  have  under  these  present  . 
building  conditions. 

Another  Bahai,  Mr.  E.  R.  Boyle,  of  the  Boyle-Robertson  Construction 
Company  of  Washington,  D.  C,  which  concern  has  had  a  large  experience  in 
the  putting  up  of  big  buildings,  also  kindly  figured  on  this  design.  His 
approximate  figure  for  a  structure  in  Bedford  limestone  was  $540,000  -  dif- 
fering but  ^0^000  from  Mr.  McDaniel 's  figure  for  the  same  material.  Mr. 
Boyle  thought  that  the  building  could  be  done  in  terra  cotta  for  $400,000, 
or  in  concrete  and  cement  even  cheaper  than  this,  but  he,  like  Mr.  McDaniel^ 
urged  that  these  cheaper  materials  be  not  considered  as  they  would  not  be 
suitable  for  a  building  of  such  importance  as  the  Mashrak-El-Azkar. 

My  own  thought  coincides  with  that  of  these  two  engineers  and  is 
that  only  the  very  best  and  most  durable  material  should  be  used  in  this 
temple.   There  are  several  kinds  of  fine  white  granite,  some  of  which  take 


-8- 

vary  bdautiful  carving  and  give  an  effect  similar  to  that  of  marble.   This 
material  is  of  course  more  expensive  than  the  more  perishable  materials^ 
such  as  marble^  lime  and  sandstones,  but  the  best  and  most  durable  of  aay- 
thing  is  always  more  costly  in  the  beginning  than  the  cheaper  materials. 
However,  in  the  end  th3  best  is  found  to  be  the  cheapest  and  the  most  satis- 
factory; therefore,  I  hope  the  Mashrak-El-Azkar  v7illi.be  built  of  the  best 
and  the  most  durable  of  materials  which  is  granite,  economizing,  if  neces- 
sary in  the  size  of  tha  building  rather  than  in  the  quality  of  its  construc- 
tion. 

As  for  an  exterior  wall  treatment  in  concrete  or  cement,  I  strongly 
advise  that  these  be  not  considered.   In  terra  cotta,  cement  and  concrete 
ornament,  as  commercially  done  in  this  country,  one  section  is  made  and  re- 
produced many  times.   In  this  hapless  multiplication  of  detailed  ornament 
there  is  no  possibility  of  obtaining  the  beauty  which  so  enhances  the  effect 
of  a  structure  in  which  each  stone  is  cut   individually,  for  in  the  individual 
cutting  of  each  particular  bit  of  ornamentation  is  found  a  subtle  variation 
which  not  only  pleases  the  eye  but  makes  its  appeal  to  the  aesthetic  sense 
of  the  beholder  giving  a  charm  of  which  the  commercial  machine  made  ornament 
is  devoid. 

Most  people  recognize  this  principle  as  applied  to  textiles.  For 
example,  a  hand  made  embroidery,  tapestry,  or  piece  of  lace  is  superior  to  : 
the  same  design  reproduced  by  machinery.   Thus  in  condemning  any  cast,  terra 
cotta,  concrete  or  cement  treatment  of  ornament  for  the  Mashrak-EL-Azkar, 
I  am  merely  applying  to  this  problem  the  recognized  principle  of  the  super- 
iority of  hand  made  decoration  ajid  ornament  over  that  which  is  machine  made. 

The  climate  of  Chicago  is  rigorous  and  the  elements  are  very  active 
in  their  attack  upon  all  stxnictures.   In  my  estimation,  as  well  as  that  of 
the  engineers  with  whom  I  have  conferred,  this  should  be  sufficient  reason 
to  debar  the  use  of  any  plastic  materials,  such  as  concrete,  cement  or 
stucco  which  do  not  withstand  the  action  of  the  weather  as  does  stone  for 
the  exterior  treatment  of  walls,  roofs,  domes,  etc.   If  there  be  einy  doubt 
in  the  minds  of  the  friends  as  to  the  reality  of  this  matter,  I  would  strong- 
ly urge  them  to  seek  the  advice  of  a  commission  of  several  engineers  of  • 
known  and  established  reputation. 


DRAWINGS . 

The  f  ollowing  six  photographic  reproductions  are  of  a  series  of 
drawings  illustrating  this  design  for  the  Mashrak-El-Azkar  in  the  Persian- 
Indian  style.      They  are  as  follows:- 

Main  elevation  as  viewed  from  The  East. 

General  Plan  of  the  building  and  grounds,    a  Plan  of  the  roof 
of   the  building,    and  a  Longitudinal  Section  showing  the   interior 
arrangement  of   the  temple. 

Perspective  View  of   the  temple  as   seen  from  one  of   the  nine 
avenues  of  approach. 

Large  Plan  of   the   Temple. 

Large  Elevation  showing  main  portal  v;ith  details  of   decoration. 
Interior  of  the  Rotunda  of  the   Jfe.shrak-El-Azkar  as  viewed 
from  one  of   the  ::alleries. 


?jf? 


EXTERIOR  MODEL. 

This  models  built  in  sections  so  as  to  adhdt  of  handling  and 
transportation,  is  constructed  of  wood,  compo  and  bristol  boards,  plaster 
of  Paris  and  other  materials,  the  object  being  to  reproduce,  at  a  reasonably 
small  scale,  as  realistic  an  effect  as'  possibl.e  of  this  architectural  treat- 
ment of  the  building  from  all  sides,  and  also  to  give  an  idea  of  the  arran^'s- 
ment  of  the  surrounding  parking  with  the  system  of  nine  radial  avenues  of 
approach  to  the  temple  —  fonning  nine  gardens  each. with  its  walks,  fountaiii^ 
trees,  hedges,  lawns  and  flovver  beds. 

The  temple  proper  with  the  fountains,  garden  vases,  balustrades, 
steps  and  copings,  are  treated  in  white  to  give  the  effect  of  stone.   The 
windows  of  the  temple  are  filled  with  imitation  stained  and  colored  glass. 
The  long  mirror  lake,  suggested  by  the  garden  arrangement  of  the  Taj  -  Mahal, 
and  the  basins  of  the  nine  fountains,  are  of  green  mirrored  glass  giving 
reflections  of  the  building  and  the  surrounding  foliage,  while  the  walks 
and  pavements  are  sanded  to  represent  gravel.   The  lawns  are  painted  green 
after  having  been  roughened  to  produce  the  effect  of  grass,  v;hile  the  hed- 
ges, shurbs  and  trees  of  different  sizes  are  painted  in  various  shades  of 
the  same  color  in  order  to  lend  as  mcuh  reality  as  possible  to  the  ensemble. 

This  model  is  bUilt  at  the  scale  of  3/8  of  an  inch  to  the  foot 
and  it  represents  the  g eneral  layout  suggested  for  the  larger  of  the  tw9 
pieces  of  land  which  comprise  the  sight  for  the  Mashrak-BL-Azkar.  This- 
piece  of  land  is. of  such- shape  that  it  is. capable  of  containing  a  circular 
layout  of  parking  and  gardens  about  five  hundred  feet  in  diameter.   The  model 
shows  this  entire  circular  layout  in  addition  to  which  is  an  encircling  walk 
outside  of  which  is  a  driveway.   The  model  is  over  seventeen  (17)  feet  in 
diameter,  the  temple  proper  being  about  five  feet  high. 

The  following  six  illustrations  are  iiaade  from  photographs  of  this 
Exterior  Model. 


««l«^B»i^-^^..^^V':^^;.^.^:l^.^^ff^.r^'>^»^^ 


^a^Viiajfe  ,  k...  -..>■*£ 


INTERIOR  MODEL, 

This  model  shows  the  architectural  treatment  of  the  interior  of 
the  temple^  with  its  central  rotunda  surrounded  by  an  ambulatory  and  galleries. 
The  walls,  ceilings  and  dome  are  conceived  to  be.lin  mOoai:;6  Oj'  gold  aad  colors, 
while  the  floors,  colcjUi^s   and  base  courses  are  of  colored  ziarbls.   It  is  at 
the  saiiie  scale  as  the  exterior  model,  namely  3/8  of  an  inch  to  the  foot,  and 
is  built  on  a  frame  '?ork  of  wood^  the  decorative  features  being  executed  in 
gold  and  colors  on  heavy  bristol  board.   The  windows,  filled  v.'ith  imitation 
colored  glass  are  lighted  from  behind  in  such  a  way  as  to  proaace  an  effect 
of  sunlight,  penetrating  the  interior  from  without.   Blue  is  the  predominating 
light  in  the  x  jtunda  which  enters  from  aoove  througn  the  nineteen  windov/s  of 
the  dome,  while  the  lighting  of  the  aisles  3.nd  galleries  of  the  building 
through  the  windows  is  a  golden  yellow.  This  combination  of  light  effect 
has  been  very  successfully  worked  out  in  the  dome  of  the  Invalides  in  Paris, 
which  has  great  dignity  and  produces  a  profound  effect  upon  all  who  enter. 

In  building  this  interior  mode^  .   .nought  was  to  produce  as  near- 
ly as  possible  a  realistic  effect  of  how  the  interior  of  this  design  would  <. 
appear  were  it  ever  built.  Unfortunately,  I  was  unable  to  obtain- a  good 
photograph  of  this  model  -  however  the  accompanying  photographic  illustration 
of  the  perspective  drawing  of  the  interior  gives  approximately  the  same  idea 
of-  the  interior  as  does  the  model. 


DIORAMA. 

The  diorama  gives  a  glimpse  into  the  interior  of  the  temple  as 
seen  from  one  of  the  galleries.   This  comprises  a  complete  model  of  one  of 
the  chambers  of  the  gallery  executed  at  the  scale. of  one  inch  to  the  foot 
and  showing  in  colors  and  gold  the  decorative  treatment  of  the  interior. 
The  other  portions  of  the  interior  -  such  as  the  rotunda  with  its  encircling 
aisles  and  galleries  and  the  main  entrance  into  the  interior,  seen  through 
the  archway^  which  separates  the  gallery  from  the  rotunda,  are  drawn  on  tha 
flat  and  re-ndered  in  color,  the  object  being  to  produce  as  realistic  an  im- 
pression as  possible  of  this  interior  view  of  the  temple. 


-2- 


AFTERWORD. 


This  design  is  humbly  offered  to  the  Center  of  the  Covenant  through 
the  Bahai  Temple  Unity. 

My  aim  in  this  work  has  been  to  formulate  a  design  as  nearly  as 
possible  in  harmony  with  the  desire  of  Abdul  Baha  regarding  this  problem. 
This  has  been  somev;hat  difficult  on  account  of  the  fewness  of  the  Revealed 
Words  pertaining  to  the  subject.   Therefore  I  have  been  obliged  to  resort  to 
my  own  initiative  which  I  have  reasoned  out  along  the  lines  of  thought  out- 
lined in  this  text,  drawing  for  my  inspiration  largely  from  the  design  of  ;±he 
Mashrak-El-Azkar  of  Eshkhabad,  which  I  understand  was  executed  in  harmony  with 
the  will  of  The  Covenant. 

.  Inasmuch  as  Abdul  Baha  has  said  that  the  design  for  the  Mashrak-El- 
Azkar  should  be  evolved  through  the  combined  efforts  of  a  number  of  archi- 
tects and  designers^  I  have  not  considered  my  efforts  in  any  other  light 
than  that  of  the  offering*  of  one  individual  toward  this  gref,t  spiritual  edi- 
fice, any  acceptable  f eatui-es  of  which  are  to  be  merged,  with  those  from 
other  sources,  in  the  design  to  be  built. 

If  any  of  my  architectural  ideas  find  favor  in  the  sight  of  Ab.dul 
Baha,  I  shall  be  very  happy,  my  hope  being  that  through  cooperation  others 
may  improve  upon  that  which  I  have  attempted. 


Chas.  Mason  Remey, 

Washington,  D.  C.  , 


"^^S  BOOK  IS  nrrr.      ^^^^^^^^ 

«'"-'- BE  "i4^^//^^  OP  2a  CENTS 

°Ay    AND    rol^°^0  CENTS  ON  th/!^^'-'^ 
OVE.OOE.  ^'-^    ON    THE    ^slZ^^T^^ 


^021-100^.7 


4C20i)i 


/VA 


U.C.  BERKELEY  LIBRARIES 


C0Q4D'n=iai 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


kM 


